Analysis of Op.27 II PDF

Webern and "Total Organization": An Analysis of the Second Movement of Piano
Variations, Op. 27
Author(s): Peter Westergaard
Source: Perspectives of New Music, Vol. 1, No. 2 (Spring, 1963), pp. 107-120
Published by: Perspectives of New Music
Stable URL: https://www.jstor.org/stable/832108
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WEBERN AND
"TOTAL ORGANIZATION": AN ANALYSIS

OF THE SECOND MOVEMENT OF PIANO
VARIATIONS, OP. 27
PETER WESTERGAARD
IN ONE SENSE of the phrase a Beethoven symp

organized"; that is, all the characteristics of soun
could notate-pitch class, register, timbre, duration
participate in, indeed are necessary to, the organiza
as a whole. In the usual, slogan, sense of the phrase
is "totally organized"; that is, only in serial music is
by the variations within each separate characteristi
and self-contained, only in serial music do the patte
characteristics come from a common scheme. F
"total organization" is to be achieved by the applica
cedures not only to pitch class but to other charact
Now the champions of serial music have oft
Webern's compositional techniques, albeit in a rudim
plete way, foreshadowed their own. I must say that
so primitive a procedure in any of Webern's music.
Webern's music (as in Beethoven's music) control
between characteristics of sound rather than patter
nonpitch characteristics is the principal considerati
patterns within separate characteristics in the secon
Webern's Piano Variations, Op. 27 (see Ex. 1):
Pitch class: Inversionally related row forms ar

posed. The last note of each row form is also the
next row form.
1 I.e. in the music of the principal European serialists (Boule

e.g.) written in the first half of the last decade. It should be cle
that I am not talking about music in which the interaction of
trolled or in which nonpitch characteristics retain their differen
Composition for Four Instruments from 1947-1948).
2 Considering the lack of control of such interaction in most
during the latter half of the last decade from "totally predet
technique is less radical than commonly supposed.
? 107 ?
PERSPECTIVES OF NEW MUSIC
4 5 I
Po: 1 2 3 -9 10
)?fI Lit 4 5 9
1 2 1 P1-2: 1
f7: I2 3 5 5 p
2.: I3J59 10 11 I.2
f f
1233
3
1- 2 f11
4959 10
6 9p12
12
0: 1
AE . I2
10 1
3 4 1 (5 P4 512
) 2 9s.10
12
3 4 59() 910
IF I iMW
fH2f if p >i
34 s25(5) 5 9 l1 1 12
3 11 1
Rhythm: The time lag of the canon is constant at one eighth note,
forming a succession of figures made up of two eighth notes. The
distances between beginnings of consecutive figures (measured in
eighth notes) produce the following pattern:
: 3 343 32 3 3 3 3 3 3 2 3 3 :11: 2 3 32 32 3 3 3 32 3 6 (3):
Articulation (the closest the composer can get to control of piano

timbre): The two-eighth-note figures are articulated in five discrete
types:
108
WEBERN AND "TOTAL ORGANIZATION"
The pattern of succession of these types of articul
1 :234511243452121 :J: 22 223511

Dynamics: There are three discrete dynamic lev
These levels are canonic, i.e. the level is constant w
eighth-note figure. The pattern made by successiv
pfpfpfpffpfpfpf :: f ffppfffpfpff
Thus, while the texture of this music may superfi
that of some serial music (note particularly the r
among a limited number of levels or types of nonpitc
its structure does not. None of the patterns within
characteristics makes audible (or even numerical)
The point is that these characteristics are still playin
role of differentiation. They interact with one anoth
to clarify pitch relationships, sorting out for the ear
tionships which are to shape the movement.
For purposes of clarity I have divided my analysis
I. A codification of the interrelationships among:
i. the seven dyads formed by the inversion symm
(A/A, Bb/G#, B/G, C/F4, C4/F, D/E, and
ii. the position of these dyads in the four pairs of
iii. the registers in which the dyads appear;
iv. the five discrete types of articulation in which
v. the three discrete dynamic levels at which the

types may occur (p, f, and if); and
vi. rhythmic variables (distance between beginnin
metric position of figures).
II. An interpretation of the effects of these interrela
traditional terms as: use of the medium, rhythm and
detail, large-scale intervallic structure (harmonic mo
ture of the movement as a whole (form).
s I omit register in this "serial analysis." In fact, control of regi
importance in Webern but has been little used in the primit
referred to. Little wonder; it makes too much difference. Imagin
simultaneous octaves that would occur if serial procedures had
register in the locus classicus of primitive serialism: Boulez' St
? 109 ?
I
A. Invariably:
1.The
2. The dyad
dyad A/A
Eb/Eb appears
appears ." p.
in figures of more than two notes
( or ) ff.
3. The first dyadlof each row pair is a
the preceding row pair and alterna
, f and
figures other
begin dyads
on the as quarter
second the a
between such figures alternate betw
4. to
TheJ. ) and
sixth, five
seventh, measures
and eighth dy
articulated /'. (With the curious e
mm. 3-4 theyeare all ff.) They ar
The lower chord is on the first beat.
5. consecutive
Where 4.row orpairs,
( figures occur
the register atthat
is such thethesame
inter-point in
vallic structure of JI 's and 's in consecutive transposi-
tions of the same row form is mnaintained:
P m.3 and m.8 p
m.4mM.9
m.20
Ex. 2
6. All ff figures have more than two notes. In all ff fig

the lower group of notes is on the quarter note beat,
upper off.
B. Where not already covered by statements under A:

1. The dyad Eb/Eb appears as the P 's of . (The
Eb/Eb in m. 15 is covered by A4.)
* 110.
2. The dyad Bb/G# appears f. (The Bb/G#'s

m. 15 are covered by A4.)
3. The ninth dyad in a row pair is artic
A/A in m. 9 is covered by Al.)
4. Any dyad which is the same as an immed
dyad appears as a two-note figure p, and b
note after the preceding figure which is f
A4, ff ( for, p ). (The B/G in mm. 8-9
A4 and the F/C# in m. 17 by A3.)
5. Dyads described under B4 have the same
immediately preceding dyad.
C. Where not already covered by statements und

1. The dyad D/E appears in t figures. (Th
m. 15 is covered by A4; the D/E in m. 4
D/E in m. 15 are covered by B3.)
2. The tenth and eleventh dyads appear
tenth and eleventh dyads of the fourth row
are covered by Bl.)
3. Dyads keep the register in which they ori
E !-
kLA
P- ii, it._
a ~
._ ,
Ex. 3
(The D/E and B/G in m. 8, the B/G in mm. 8-9, the fi

E/D and the Eb/Eb in m. 15, and the B/G in mm. 1
are covered by A5; the second E/D in m. 15 and the
in m. 20 are covered by B5.)
4. J. is p. (The f. in m. 12 is covered by B4.)
5. Consecutive figures have contrasting dynamics. (The
p-p in mm. 11-13 is because of A3, B4, and Al.) W
possible the dynamic level alternates between f and p.
J. in m. 6 and m. 17 are covered by A3, the i 's in
m. 8, m. 15, and m. 19 by A4, the Eb/Eb in m. 21 bTy A2.)
D. Where not already covered by statements under A, B, or C:

1. The dyads Fg/C and F/C# occurring separately appear
S these are the only 's. (The C#/F in m. 17 is
S111
covered by A3; the C/F# in m. 18 will be ex

D2.) Occurring consecutively, F#/C and F/
like repeating dyads under B4. (The Ft/C
in mm. 3-4 are already covered by A4.)
2. Bb/G# appears as . (Bb/G# in mm. 8-9
covered by A4. A - ~ 7 at m. 18 is im
causeffofbecause
sible: C5. Alternate dynamics
of A6, p because forin the
of C5-A/A m. 19-T , are impos-
must be p because of Al.)
3. The dyad
m. 8 are B/Gbyappears
covered Cl, thoseJ.in .mm.
(The8-9B/G's in 19-20
and mm. mm. 2-3 and
by A4, that in m. 20 by B4.)
4. Consecutive figures begin a dotted quarter apart. (They
begin a half note apart in mm. 2-4 because of A4, a quarter
note apart in mm. 5-6, mm. 10-11, and mm. 16-17 because
of C2, in mm. 12-13, m. 15, and mm. 19-20 because of
B4, and a dotted half note apart in mm. 21-22 because
of A3.)
Some comments on the purpose and implications of the above state-
ments are in order:
i. They are redundant. (For example, all occurrences of Eb/Eb

as P 's are covered by AS and Cl; Bl is therefore unnecessary.
Such redundancy is indicative of a tightly knit organization.
The
by the4; at m.Eb6 grace
common is related not
notes [B1] but only
also to to the
those . at 2-3,
at mm. m. 21
m. 17 and m. 21 by the common E and D eighth notes [Cl] and
at m. 17 by regularity of recurrence--m. 6 to the repeat of
m. 6, repeat of m. 6 to m. 17, m. 17 to the repeat of m. 17 each
eleven half notes [A3].)
ii. They are sufficient, given the succession of pitch classes, to infer
every aspect of each moment of the movement. (Indeed, given
this row, its canonic disposition without retrograde symmetry,
and these statements, we may infer the movement, since these
are the only four transpositions of this row which satisfy A3.)
II
A. Use of the medium:
Webern makes considerable demands on the pianist, but these de

mands never work against the mechanics or acoustics of the instru-
4 See Milton Babbitt, "Twelve-tone Invariants as Compositional Determinants,"
Musical Quarterly, for April 1960.
* 112 *
ment. The pianist is not asked to play A/A - or

IA1). The pianist is asked to differentiate between th
dynamic levels, as well as five discrete articulation ty
neveror asked
IA6), to play
three-note single
accented notes
chords ( j )( pn(See
, . ,IA4).
or 7The- ) ff (See
longest single notes ( , ) are always frwhile the shortest ( [r )
are p (See IC4) -with the single exception of m. 12 where the
change follows
directly is madef 5easier to project
(the only because
case where off).the
f follows andcontext:
is in the f .
turn directly followed by the same pitches in the same articulation,
but p.5
B. Rhythm and meter:
The frequency (almost three quarters of the time) with which
consecutive figures begin a dotted quarter apart constantly tempts the
listener to hear the movement in terms of a 3/8 meter. He will,
however, constantly be jolted out of such a meter by various irregu-
larities (see the exceptions to ID4). These irregularities, moreover,
participate in larger regular patterns, all of which are measurable
in integral numbers of halves or quarters and most of which are not
measurable in integral numbers of dotted quarters:
i. the distance between terminal figures of both sections and their
repetitions (the Bb/G# in m. 11 serves as the last figure in the
first section and its repetition as well as the first figure in the
repetition of the first section and second section) is always eleven
halves (See IA3). For the listener this means that no change in
meter is necessary to keep the metric position of sections the
same for both statements-if he hears the movement in 2/4.
ii. the distances between the lower group of notes in all loud (f or
ff, mostly the latter) figures involving more than two notes
( .. and fl ) are (in order of frequency) five, two,
twelve, or thre&e quarters. For the listener this helps define the
position of the quarter note beat.
iii. the distances between consecutive low, loud chords (the lower
of the two in any ( figure) are either five or six halves
5 Compare the situation in Boulez' Structures. The pianists are asked to differenti-
ate between twelve different ways of playing a note (indicated by -, .,, q, no

indication,
discrete ., ', , levels
dynamic 9 -, ,(indicated
and ) each
byone of ppp,
pppp, whichpp,may appear
p, quasi in any
p, mp, mf, of twelve
quasi f, f,
ff, fff, and ffff). For an explanation of the mechanics of the serial procedure, see
Gyorgy Ligeti, "Entscheidung und Automatik in der Structure Ia," Die Reihe, iv,
pp. 38-63. Ligeti omits the fourth and tenth articulation type. He asks rhetorically:
"Was kiinnte
werden?" (Whatzwischen
could be *inserted
und 'normal' [no* and
between indication] oder
"normal," I und : eingeschoben
or between r and
?), but in fact VA and - exist in those positions in IC.
* 113 *
(See IA5). For the listener this helps define t

downbeat.
Thus the written meter is no "'pure convention."6 Nor is it difficult to
hear if we hear the movement in context: the eighth-note minimal
units in a 2/4 meter at J = ca. 160 are preceded by sixteenth notes
in a 3/16 meter at J. = ca. 40 at the end of the first movement and
followed by quarter notes in a 3/2 meter at J = ca. 80 at the begin-
ning of the last movement.7
C. Intervallic detail:
One might suppose that the intervals between consecutive notes of

each of the two canonic "voices" (i.e. the row intervals) would
dominate the foreground. In fact, however, these "voices" are not
voices in the traditional sense, but structural determinants. The effects
of the symmetrical disposition of these "voices" on the surface texture
are far more readily perceptible than the "voices" themselves. Almost
every available factor serves to emphasize the connections between
canonically corresponding notes in the two "voices" (the dyads) at
the expense of the connections between consecutive notes within
the "voices":8
i. register: the "voices" cross constantly, while register for four

of the dyads is constant and for the other three more or less
so (See IC3).
ii. correlation between pitch class and interval class: as a row form
is transposed, its interval classes are associated with new pitch
classes, but because of the constant axis of inversion, the identity
of the seven dyads remains unchanged regardless of row trans-
position.
iii. dynamics: for the most part, consecutive notes within the "voices"
are at a contrasting dynamic level while canonically correspond-
ing notes are invariably at the same dynamic level. Furthermore,
two of the seven dyads always keep the same dynamic level (See
IA1, IA2), another almost always (See IB2).
iv. articulation: for the most part, consecutive notes within the two
6 See my more general discussion of this problem for the third movement in the
first issue of PERSPECTIVES OF NEW MUSIC.
7 The frequency of certain interval classes (0, -- 3, and 6 semitones) at distances
of an even number of quarter notes established by David Lewin ("A Metrical Problem
in Webern's Opus 27," Journal of Music Theory, Spring 1962, pp. 124-133) may also
help establish the meter, but is insufficient in itself in that it gives no indication of
where the downbeat is.
s It seems to be commonly assumed that the "voices" in Webern's structural canon
are to be heard as textural voices, e.g. Rene Leibowitz, Schoenberg and His School,
translated by Dika Newlin, Philosophical Library, New York, 1949, pp. 211-215,
235-238.
? 114 *
"voices" are in contrasting articulation, while c

sponding notes are in the same articulation. F
of the seven dyads is always in the same articu
IAL), three are in the same articulation type
not (See IB1, IC1, and ID2).
v. rhythm: at least for the first three articulation types, notes
within "voices" are further apart in time (two or more eighths,
usually three) than canonically corresponding notes (always one
eighth): thus the one factor which consistently identifies to
which of two "voices" a note belongs is its position in a two-
eighth-note figure.9
The significant exceptions to the above will all be found in figures of

the 4M and articulation types; here, notes within a "voice" are
to be heard at thr same dynamic level, either simultaneously and in the
same articulation or closer in time than the canonic time lag and
legato, and closer in register than many of the canonically correspond-
ing notes. The intervals emphasized by these figures are:
a. predominantly odd (coinposed of an odd number of semitones)
as opposed to the exclusively even intervals of the dyads, and are
b. the same as the intervals emphasized at the end of the first move-
ment and the beginning of the third.
it.------------
Ex. 4
D. Larger intervallic structure ("harmonic motion"):
Despite its highly energetic texture (the large intervals, the w

rhythmic detail works against the meter, the constant rapid c
of dynamics and articulation) the movement sounds highly sta
emphasis placed on the seven dyads (See factors ii-v above) a
fact that these dyads stay for the most part in the same regis
IC3) prevents almost all sense of harmonic motion. What sense
is is produced by the transposition of Aa and ( figures
fined by IA5. Most of the pitch classes that changge'egister bec
9 Although not completely consistent, the disposition of the hands might
sidered as an identifying factor, at least for the pianist.
* 115-
of IA5 participate in figures; hence the harmo

movement is concentrated in the successive appearan
mm.3-4 mm.8-9 m.15 mm.19-20
Ex. 5
Various details help these figures emerge from the surroundin

ures: The figure at mm. 3-4 creates the first deviation from th
of dotted quarter between beginnings of figures (See ID4)
unsure why this figure is not if. Perhaps the combination of th
rhythmic and the first dynamic deviation would be too m
The figure at mm. 8-9 is immediately preceded by the first d
from the normal register of the dyads (and the only deviat
occurring in a ( figure):
z. z
S m.6
P m3 m.8 p
original patterns (pitches maintained) original patterns

transposed
Ex. 6
The figure at m. 15 (the point of climax) is at the end of the

p f ff succession in the movement.'0 Nevertheless, the type of harm
motion presented by these figures is a limited one. In the first p
most of this motion is within an essentially stationary vertical sono
that is, most of the dyads in the ( figures are in their norm
register. This is made possible (desptie IA5) by the fact that
most frequent interval between adjacent pitches in the vertical ord
ing of all dyads with invariable register, the fourth,
1o This point was brought to my attention by Mr. Tobias Robison.
* 116 *
Ex. 7
is also the most frequent relationship between transposition lev

the same row form. (The first and second, second and third
fourth and first row forms are a fourth apart.) In the second p
this same interval is also present in the chord to be transposed.
we have an effect similar to that of arpeggiation without st
linear motion in tonal music. There is no linear motion of the kind
which produces the strongest effect of motion in tonal music: motion
by step from one element of the established vertical sonority to
another. Where linear motion by step occurs, it is almost exclusively
of the neighbor-note type as, for example, within the f figures:
Ex. 8
as well as between the pitches of the il figures and the fixed pit
of the total vertical sonority, particularly those receiving emph
through being at the beginning or the end of a section (the A
figures) and the other ff figures" (see Ex. 9).
11 The boundaries of each section are presumably made obvious by the exa
repetition. Thus each section can be thought of as beginning and ending with
Bb/G# figure:
first section second section
I m.111 I m.1 m.221 m.22

repetition of repetition of
first section second section
However, in a context in which a number of

repetition of an entire section loses some of it
ures are of immense importance to the structu
danger of being submerged in the surrounding
not. The following factors help create a stro
Bb/G# figures:
1. Both Bb and G$ are so often used as the t
of the next.
2. Bb/G# when used as a terminal figure is always .' with the Bb first. Other
appearances either reverse the order (m. 5 and m. 15) or change the articula-
tion (mm.. 8-9, m. 15, and m. 18). The interrelation between the various
* 117 *
m.6 m.11 m.17 m.21 m.22
Ex. 9
Note the relationships between the sonority outlined
Ex. 10
and the climax chords:
Ex. 11
E. Structure of the movement as a whole (form):
Here, as in tonal music, large scale intervallic structure is th

of form; textural details serve primarily to project or cla
structure and thereby to create form. Here, as in tonal music,
characteristics of sound would have been a simpler one (and simpler to

see the last exception to ID2) had the last five measures read:
Such a version, however, not only adds a Bb/GS in the order and ar
type otherwise reserved for terminal points but also removes the long r
the figure in m. 22, thereby making the beginning of the second sta
the second section considerably less obvious. (For another important
this rest, see the end of this article.)
? 118 *
sis of form in terms of textural details without ref

lying large scale intervallic structure is misleadi
leading are those analyses which assume that s
intervallic structure is automatically provided for by
Now in fact the row structure of this movement h
do with its form. The pitches of the large scale in
described in Section D (See Exx. 8-11) are ma
the first, second, sixth, seventh, eighth, and twelft
ous rows.'4 But the listener does not hear these pitc
12 Such as Wilbur Ogdon's analysis of this movement ("A Webern Analysis,"
Journal of Music Theory, Spring 1962, pp. 133-138). Ogdon considers form as
determined by rhythm and dynamics independent of pitch elements. He mentions "the
isorhythmic attitude of this composition" and continues, "The serial progression runs
on its own track, as it were, while the rhythmic-formal structure develops independ-
ently." Yet not only are relationships between pitch and nonpitch characteristics far too
consistent to consider them as developing independently (see section I of this analysis)
but the "rhythmic-formal structure" is less regular than Ogdon's abstracts imply, and
much less regular than the talea to which he refers. His abstract reads:
Al A2 A3 A4
I al a2 b2 ' j al a2 bl I al b21 al a2 bl
B1 B2 B3 B4
I al bl I a2 b2 I 1 bl al al a2 b2 I(al)
where
al =J or f followed by a rest
a 2 = p followed by a rest
bl = for ff Fp F followed by a rest

b22 or followed by a rest
Certain regularities in the abstract are m

1. the regularity of phrase structure. (No
phrase brackets. The consistency of the f
in the first section-first unit loud, las
2. the alternation of al, a2, bl, and b2
different meanings for a and b.)
S. the symmetrical relationship between
b2 bl b2 bl and bl b2 bl b2-and the identity of Al and the
"recapitulation phrase," B4. (The b2 in B4 is inaccurate. The end should re
al a2 bl al (al).)
13s Such analyses are evidently based on the widespread
technique is a substitute for tonality and that hence row
A primitive example of this kind of analysis would be: A
tone twelve of row two becomes tone one of row one f
section, but can also become tone one of row three for
section, just as the dominant at the end of the first secti
lead back to the tonic or lead on to the second section.
14 The horizontal and vertical relationships in this
identities, are made possible by the frequency of four
between tones one, two, six, seven, eight, and twelve an
position levels used.
. 119 -
in the large scale intervallic structure of the move

of the regularity of their positions in a succession
them that way because they are sorted out for him
him by the particular nonpitch characteristics
assigned to them.
The following example indicates the structure of
a whole. (The numbers indicate the position of
respective row; bold face numbers mean that the n
inversion form.)
terminal figures
2 2
figures
Ex. 12
Ex. 12
The only exception to an otherwise completely regular pat

the figure at m. 21. Yet it can hardly be ignored simply
does not fit into the row scheme the way the other figures
ticularly since it is given an important position in the shape
movement as we perceive it. It is followed by two quarter r
longest silence in the movement. For a moment m. 21 migh
be the end. After all, these pitches in this articulation at this
level have already been used in the first section as interior p
(m. 6), and two of these pitches (E and D) have been use
same position in the same articulation type at the same dyn
for the same purpose in the second section (m. 17). Indee
the only use of this articulation type at this dynamic level
not use the first two tones of a row and does not divide a section
approximately in half: hence for a moment the ambiguity at m. 21
and hence the Haydnesque wit of the end of the movement.
* 120 *

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Webern and "Total Organization": An Analysis of the Second Movement of Piano

"TOTAL ORGANIZATION": AN ANALYSIS

IN ONE SENSE of the phrase a Beethoven symp

Pitch class: Inversionally related row forms ar

1 I.e. in the music of the principal European serialists (Boule

2.: I3J59 10 11 I.2

: 3 343 32 3 3 3 3 3 3 2 3 3 :11: 2 3 32 32 3 3 3 32 3 6 (3):

Articulation (the closest the composer can get to control of piano

The pattern of succession of these types of articul

1 :234511243452121 :J: 22 223511

v. the three discrete dynamic levels at which the

P m.3 and m.8 p

6. All ff figures have more than two notes. In all ff fig

B. Where not already covered by statements under A:

2. The dyad Bb/G# appears f. (The Bb/G#'s

C. Where not already covered by statements und

(The D/E and B/G in m. 8, the B/G in mm. 8-9, the fi

D. Where not already covered by statements under A, B, or C:

covered by A3; the C/F# in m. 18 will be ex

i. They are redundant. (For example, all occurrences of Eb/Eb

Webern makes considerable demands on the pianist, but these de

ment. The pianist is not asked to play A/A - or

ate between twelve different ways of playing a note (indicated by -, .,, q, no

(See IA5). For the listener this helps define t

One might suppose that the intervals between consecutive notes of

i. register: the "voices" cross constantly, while register for four

"voices" are in contrasting articulation, while c

The significant exceptions to the above will all be found in figures of

D. Larger intervallic structure ("harmonic motion"):

Despite its highly energetic texture (the large intervals, the w

of IA5 participate in figures; hence the harmo

mm.3-4 mm.8-9 m.15 mm.19-20

Various details help these figures emerge from the surroundin

original patterns (pitches maintained) original patterns

The figure at m. 15 (the point of climax) is at the end of the

is also the most frequent relationship between transposition lev

first section second section

I m.111 I m.1 m.221 m.22

However, in a context in which a number of

m.6 m.11 m.17 m.21 m.22

Note the relationships between the sonority outlined

and the climax chords:

E. Structure of the movement as a whole (form):

Here, as in tonal music, large scale intervallic structure is th

characteristics of sound would have been a simpler one (and simpler to

sis of form in terms of textural details without ref

bl = for ff Fp F followed by a rest

Certain regularities in the abstract are m

in the large scale intervallic structure of the move

The only exception to an otherwise completely regular pat

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